DOCSLIB.ORG

Sergei Eisenstein

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sergei Eisenstein Sergei Eisenstein Mike O’Mahony Sergei Eisenstein Titles in the series Critical Lives present the work of leading cultural figures of the modern period. Each book explores the life of the artist, writer, philosopher or architect in question and relates it to their major works. In the same series Jean Genet Jorge Luis Borges Stephen Barber Jason Wilson Michel Foucault Erik Satie David Macey Mary E. Davis Pablo Picasso Georges Bataille Mary Ann Caws Stuart Kendall Franz Kafka Ludwig Wittgenstein Sander L. Gilman Edward Kanterian Guy Debord Frank Lloyd Wright Andy Merrifield Robert McCarter Marcel Duchamp Octavio Paz Caroline Cros Nick Caistor James Joyce Walter Benjamin Andrew Gibson Esther Leslie Frank Lloyd Wright Charles Baudelaire Robert McCarter Rosemary Lloyd Jean-Paul Sartre Jean Cocteau Andrew Leak James S. Williams Noam Chomsky Wolfgang B. Sperlich Sergei Eisenstein Mike O’Mahony reaktion books Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx, uk www.reaktionbooks.co.uk First published 2008 Copyright © Mike O’Mahony 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in Great Britain by Cromwell Press, Trowbridge, Wiltshire British Library Cataloguing in Publication Data O’Mahony, Mike, 1949– Sergei Eisenstein. – (Critical lives) 1. Eisenstein, Sergei, 1898–1948 – Criticism and interpretation 2. Eisenstein, Sergei, 1898–1948 3. Motion picture producers and directors – Soviet Union – Biography I.Title 791.4'3'0233'092 isbn-13: 978 1 86189 367 3 Contents Prologue 7 1 Experimentation 12 2 Consolidation 47 3 Transition 81 4 Hiatus 116 5 Reprieve 151 Epilogue 193 References 201 Select Bibliography 215 Acknowledgements 217 Photo Acknowledgements 219 Sergei Eisenstein during the Making of October. Prologue And just think! None, none of this might ever have happened! None of the sufferings, searchings, heartaches, or spasmodic moments of creative joy! And all because there was an orchestra 1 playing at the Ogins’ dacha at Majorenhof. Thus Eisenstein begins a short passage, titled ‘Pre-Natal Experience’, in his memoirs. Here, in a few brief sentences, the author has fully whetted the appetite of the reader, introducing an enticing, mysteri- ous narrative of intrigue that would grace the pages of any ‘penny dreadful’ typical of the fin-de-siècle world into which Eisenstein was born. In the same dramatic vein he continues: Everyone had drunk far too much that evening. A fight broke out and someone was killed. Papa grabbed his revolver and dashed across Morskaya Street to restore order. Mama, who was pregnant with me, was scared to death and almost gave birth prematurely. A few days passed in the fear of possible fausses couches [mis- carriage]. But that did not happen. I made my entrance into this world at the allotted hour, 2 albeit three whole weeks early. 7 When Sergei Mikhailovich Eisenstein was born on 23 January (10 January old style) 1898, it may, or may not, have been in the wake of such dramatic events as these. Did his father, a civil engineer by trade, really carry a revolver at all times, and was he really so will- ing to dive into such a dangerous situation without consideration for his own safety? And if such an incident did occur, did it truly instigate such a dramatic, cliff-hanging moment, the future film director’s very existence swinging precariously in the balance, his mother on the brink of losing her only son before his birth? We can, of course, never know the answers to these questions. However, the main concern is less whether or not such events actually took place than how Eisenstein’s reconstruction of his personal history has shaped our understanding of his life and work. Eisenstein’s memoirs, written between 1 May and 12 December 1946 while he was recuperating from a heart attack suffered earlier that year, were never published in his lifetime. However, in the years since his death, various parts of his unfinished manuscript have entered the public domain (here all Eisenstein scholars must offer huge thanks to the Herculean efforts of Naum Kleiman and Richard Taylor for bringing this material to light). While Eisenstein’s memoirs offer fascinating insights into the life and practice of the Soviet filmmaker, it should be noted that his text is notoriously full of anecdotes and contradictory interpreta- tions. As his biographer Oksana Bulgakowa has suggested, Eisen - stein’s memoirs adopt the form of a Bildungsroman, with various episodes presented as trials which the hero overcomes on his 3 journey to character formation and maturity. Further, Eisenstein regularly employs conventional psychoanalytical tropes sometimes to allude to, at other times more explicitly to explain, his personality traits and the many crises in his life. He is variously brutalized by his father, abandoned by his mother, embraced and then rejected by his peers. His relationships with both men and women, as far as can be discerned, are strained and seemingly largely unfulfilled, 8 and, towards the end of his life, even his relationship with the Soviet leader Iosif Stalin takes on the characteristics of a typical parent–child (Oedipal) conflict. Other seemingly profound child- hood experiences are introduced as vital to his later development. For example, as a scientific materialist and self-confessed atheist, Eisenstein was a harsh critic of religion and spirituality, and yet religious rituals and biblical references permeate his works to such an extent that he was frequently criticized for excessive religious zeal by the Soviet censors. In this context, he recalls his nanny, who prayed daily before an icon of the Virgin Mary, and Father Pavel of the Suvorov Church in St Petersburg, who ‘went through Holy Week as if suffering the Lord’s Passion’, and whose ‘forehead exuded droplets of blood in the candlelight when he read the Acts 4 of the Apostles’. From this perspective, Bulgakowa’s allusion to Eisenstein’s life history as ‘the novel of a narcissist’ is both evoca- tive and accurate, and reminds us that both his memoirs and later 5 biographies should be read with a degree of caution. Yet it might also be added that Eisenstein’s memoirs – though sometimes factually unreliable – nonetheless cast intriguing light on other important aspects of his life and work. For example, in the anecdote outlined above he deploys a dramatic story as an illustra- tion of a wider set of problems and dilemmas. Throughout his adult life, Eisenstein struggled to resolve many contradictions, not least his own official support for the Soviet regime and its advocacy of materialism and collectivism, alongside his fascination for Freudian psychoanalysis with its emphasis on the individual psyche. Thus Eisenstein continues by trying to explain away the significance of the prenatal trauma he recounts: ‘It is of course hard to imagine that this episode could have left any impression 6 on me avant la lettre.’ Yet, in contradiction of this statement, he is also quick to point out: ‘my haste, and my love of gunshots and orchestras have remained with me ever since. Not one of my films 7 goes by without a murder.’ Indeed, cruelty and violence permeate 9 all of Eisenstein’s films, from the massacre of the workers in his first production, Strike, to the murder of Vladimir Staritsky in his last film, Ivan the Terrible. Perhaps the real questions about him are: Is this fascination with brutality the lasting legacy of such a dramatic prenatal experience? Or might it alternatively be a reflec- tion of the politically turbulent, all too frequently violent, times through which he lived? In what follows, I shall be offering an account of Eisenstein’s life coupled with an analysis of his major works. With regard to the first task, I shall not be seeking, as many have before me, to psycho - analyse my subject. The extent to which Eisenstein’s emotional experiences may or may not have directly shaped his work is as much a mystery to me as it is, I would argue, to others, despite claims to the contrary. Nor, it might be added, shall I be giving extensive attention to the question of Eisenstein’s sexuality, a subject that has obsessed many an author before this one. While the limited evidence available suggests that he probably had sexual relationships with both men and women, these, it seems, were sporadic and rare events in his life. I do not dismiss Eisenstein’s sexuality as irrelevant; such a claim would be patently absurd. Sexual identity, along with political, ideological and class identity, are clearly important factors in shaping individuals and thus their engagement with the world as articulated through their art. Rather, I simply acknowledge that insufficient evidence remains to offer a definitive statement on the matter. I shall therefore be giving greater priority, as far as is possible, to the material facts of Eisenstein’s life, the wider socio-historical context in which he lived and operated, and, most importantly, to the works themselves, the product of that existence. Following the conventions of much biographical writing, I shall adopt a broadly chronological approach examining, in turn, Eisenstein’s childhood and youth, early professional experiences as a young adult and his mature career up to his untimely death in 1948, barely a month 10 after his fiftieth birthday. To highlight the necessarily contingent nature of this task, however, and to embrace Eisenstein’s own sense, and literary reconstruction, of his life as a series of dramatic performances, I shall structure what follows into five chapters or acts, each examining a key period in his life and focusing on major works produced during that period.
Load more

Recommended publications
  • The Film Music of Edmund Meisel (1894–1930)
    The Film Music of Edmund Meisel (1894–1930) FIONA FORD, MA Thesis submitted to The University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2011 Abstract This thesis discusses the film scores of Edmund Meisel (1894–1930), composed in Berlin and London during the period 1926–1930. In the main, these scores were written for feature-length films, some for live performance with silent films and some recorded for post-synchronized sound films. The genesis and contemporaneous reception of each score is discussed within a broadly chronological framework. Meisel‘s scores are evaluated largely outside their normal left-wing proletarian and avant-garde backgrounds, drawing comparisons instead with narrative scoring techniques found in mainstream commercial practices in Hollywood during the early sound era. The narrative scoring techniques in Meisel‘s scores are demonstrated through analyses of his extant scores and soundtracks, in conjunction with a review of surviving documentation and modern reconstructions where available. ii Acknowledgements I would like to thank the Arts and Humanities Research Council (AHRC) for funding my research, including a trip to the Deutsches Filminstitut, Frankfurt. The Department of Music at The University of Nottingham also generously agreed to fund a further trip to the Deutsche Kinemathek, Berlin, and purchased several books for the Denis Arnold Music Library on my behalf. The goodwill of librarians and archivists has been crucial to this project and I would like to thank the staff at the following institutions: The University of Nottingham (Hallward and Denis Arnold libraries); the Deutsches Filminstitut, Frankfurt; the Deutsche Kinemathek, Berlin; the BFI Library and Special Collections; and the Music Librarian of the Het Brabants Orkest, Eindhoven.
    [Show full text]
  • Art and Technology Between the Usa and the Ussr, 1926 to 1933
    THE AMERIKA MACHINE: ART AND TECHNOLOGY BETWEEN THE USA AND THE USSR, 1926 TO 1933. BARNABY EMMETT HARAN PHD THESIS 2008 DEPARTMENT OF HISTORY OF ART UNIVERSITY COLLEGE LONDON SUPERVISOR: PROFESSOR ANDREW HEMINGWAY UMI Number: U591491 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591491 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 I, Bamaby Emmett Haran, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 ABSTRACT This thesis concerns the meeting of art and technology in the cultural arena of the American avant-garde during the late 1920s and early 1930s. It assesses the impact of Russian technological Modernism, especially Constructivism, in the United States, chiefly in New York where it was disseminated, mimicked, and redefined. It is based on the paradox that Americans travelling to Europe and Russia on cultural pilgrimages to escape America were greeted with ‘Amerikanismus’ and ‘Amerikanizm’, where America represented the vanguard of technological modernity.
    [Show full text]
  • Odessa 2017 UDC 069:801 (477.74) О417 Editorial Board T
    GUIDE Odessa 2017 UDC 069:801 (477.74) О417 Editorial board T. Liptuga, G. Zakipnaya, G. Semykina, A. Yavorskaya Authors A. Yavorskaya, G. Semykina, Y. Karakina, G. Zakipnaya, L. Melnichenko, A. Bozhko, L. Liputa, M. Kotelnikova, I. Savrasova English translation O. Voronina Photo Georgiy Isayev, Leonid Sidorsky, Andrei Rafael О417 Одеський літературний музей : Путівник / О. Яворська та ін. Ред. кол. : Т. Ліптуга та ін., – Фото Г. Ісаєва та ін. – Одеса, 2017. – 160 с.: іл. ISBN 978-617-7613-04-5 Odessa Literary Museum: Guide / A.Yavorskaya and others. Editorial: T. Liptuga and others, - Photo by G.Isayev and others. – Odessa, 2017. — 160 p.: Illustrated Guide to the Odessa Literary Museum is a journey of more than two centuries, from the first years of the city’s existence to our days. You will be guided by the writers who were born or lived in Odessa for a while. They created a literary legend about an amazing and unique city that came to life in the exposition of the Odessa Literary Museum UDC 069:801 (477.74) Англійською мовою ISBN 978-617-7613-04-5 © OLM, 2017 INTRODUCTION The creators of the museum considered it their goal The open-air exposition "The Garden of Sculptures" to fill the cultural lacuna artificially created by the ideo- with the adjoining "Odessa Courtyard" was a successful logical policy of the Soviet era. Despite the thirty years continuation of the main exposition of the Odessa Literary since the opening day, the exposition as a whole is quite Museum. The idea and its further implementation belongs he foundation of the Odessa Literary Museum was museum of books and local book printing and the history modern.
    [Show full text]
  • A Voice from the Slavic Studies Edge: on Being a Black Woman in the Field Kimberly St
    August 2020 • v. 60, n. 4 NewsNet News of the Association for Slavic, East European, and Eurasian Studies A Voice from the Slavic Studies Edge: On Being a Black Woman in the Field Kimberly St. Julian-Varnon, University of Pennsylvania When I sat down to brainstorm what I wanted to say in a In June, the hashtag #BlackintheIvory began trending newsletter that would reach hundreds of ASEEES members, on Twitter. Thousands of Black academics shared their I immediately thought that I had to be careful because I experiences with racism and prejudice, from undergraduate am an incoming doctoral student whose academic career students to tenured faculty. I knew and had shared their is relatively non-existent. I was afraid of the backlash of ordeals. I was not surprised by any of their stories. Instead, being seen as a troublemaker or someone who “plays the I felt relief. I knew it was not just me who felt alienated race card.” My concern represents a more significant issue and alone in an overwhelmingly white field.1 It was a within my chosen field, Soviet/Russian/Ukrainian history, depressing confirmation because it was not better to be and academia. Beyond the ivory tower, the United States Black elsewhere in the academy. is experiencing a pivotal moment. Black people and their My experience in the field is relatively unique. I am one of allies are protesting for justice and the reform of the police a handful of Black people who work on Russian/Soviet/ and other institutions that maintain the status quo of racial Post-Soviet history.
    [Show full text]
  • 2020 Convention Program.Pdf
    aseees Association for Slavic, East European, & Eurasian Studies 2020 ASEEES VIRTUAL CONVENTION Nov. 5-8 • Nov. 14-15 ASSOCIATION FOR SLAVIC, EAST EUROPEAN, & EURASIAN STUDIES 52nd Annual ASEEES Convention November 5-8 and 14-15, 2020 Convention Theme: Anxiety & Rebellion The 2020 ASEEES Annual Convention will examine the social, cultural, and economic sources of the rising anxiety, examine the concept’s strengths and limitations, reconstruct the politics driving anti- cosmopolitan rebellions and counter-rebellions, and provide a deeper understanding of the discourses and forms of artistic expression that reflect, amplify or stoke sentiments and motivate actions of the people involved. Jan Kubik, President; Rutgers, The State U of New Jersey / U College London 2020 ASEEES Board President 3 CONVENTION SPONSORS ASEEES thanks all of our sponsors whose generous contributions and support help to promote the continued growth and visibility of the Association during our Annual Convention and throughout the year. PLATINUM SPONSORS: Cambridge University Press GOLD SPONSOR: East View information Services SILVER SPONSOR: Indiana University, Robert F. Byrnes Russian and East European Institute BRONZE SPONSORS: Baylor University, Modern Languages and Cultures | Communist and Post-Communist Studies by University of California Press | Open Water RUSSIAN SCHOLAR REGISTRATION SPONSOR: The Carnegie Corporation of New York FILM SCREENING SPONSOR: Arizona State University, The Melikian Center: Russian, Eurasian and East European Studies FRIENDS OF ASEEES:
    [Show full text]
  • Refining Russia : Advice Literature, Polite Culture, and Gender from Catherine to Yeltsin
    d:/1kelly/pre.3d ± 15/5/1 ± 14:28 ± disk/sh REFINING RUSSIA d:/1kelly/pre.3d ± 15/5/1 ± 14:28 ± disk/sh d:/1kelly/pre.3d ± 15/5/1 ± 14:28 ± disk/sh REFINING RUSSIA Advice Literature, Polite Culture, and Gender from Catherine to Yeltsin CATRIONA KELLY 1 d:/1kelly/pre.3d ± 15/5/1 ± 14:28 ± disk/sh 3 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris SaÄo Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # Catriona Kelly 2001 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2001 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights
    [Show full text]
  • Russian Minority in Latvia
    Russian Minority in Latvia EXHIBITON CATHALOG Foundation of MEP Tatjana Ždanoka “For Russian Schools”, Riga-Brussels 2008-2009 Riga-Brussels 2008-2009 The Exhibition “Russian Minority in Latvia” is supported by the Foundation of MEP Tatjana Ždanoka “For Russian Schools”, by European Parliament political group “Greens/EFA” as well as the External Economic and International Relations Department of Moscow City Government and the Moscow House of Fellow Nationals. Author Team: Tatjana Feigman and Miroslav Mitrofanov (project managers) Alexander Gurin, Illarion Ivanov, Svetlana Kovalchuk, Alexander Malnach, Arnold Podmazov, Oleg Puhlyak, Anatoly Rakityansky, Svetlana Vidyakina Design by Victoria Matison © Foundation “For Russian Schools” ISBN 978-9984-39-661-3 The authors express their gratitude for assistance and consultation to the following: Metropolitan of Riga and all Latvia Alexander Kudryashov and priest Oleg Vyacheslav Altuhov, Natalia Bastina, Lev Birman, Valery Blumenkranz, Olga Pelevin, Bramley (UK), Vladimir Buzayev, Valery Buhvalov, Dzheniya Chagina, Yury Chagin, Chairman of the Central Council of Latvian Pomorian Old Orthodox Church Biruta Chasha, Alexey Chekalov, Irina Chernobayeva, Nataliya Chekhova, Elina Aleksiy Zhilko, Chuyanova, Vitaly Drobot, Yevgeny Drobot, Dmitry Dubinsky, Nadezhda Dyomina, Editor in chief of daily newspaper “Vesti Segodnya” Alexander Blinov, the Vladimir Eihenbaum, Xenia Eltazarova, Zhanna Ezit, Lyudmila Flam (USA), vice-editor in chief Natalya Sevidova, journalists Yuliya Alexandrova and Ilya Svetlana
    [Show full text]
  • FILM ESSAYS and a Lecture by Sergei Eisenstein Sergei Eisenstein in 1934
    FILM ESSAYS and a Lecture by Sergei Eisenstein Sergei Eisenstein in 1934. Photograph by Jay Leyda FILM ESSAYS AND A LECTURE by SERGEI EISENSTEIN edited by JAY LEYDA Foreword by Grigori Kozintsev Princeton University Press Princeton, New Jersey English translation © 1968 by Dobson Books, Ltd.; © 1970 by Praeger Publishers, Inc. Preface and English translation of "The Prometheus of Mexican Painting" copyright © 1982 Princeton University Press Published by Princeton University Press, Princeton, New Jersey All Rights Reserved LCC: 81-47283 ISBN: 0-691-03970-4 ISBN: 0-691-00334-3 pbk. THIS COLLECTION OF TRANSLATIONS Is DEDICATED TO PERA ATASHEVA First Princeton Paperback printing, 1982 Dobson Books edition, 1968; Praeger Publishers, Inc. edition, 1970 Published by arrangement with Praeger Publishers, Inc. Printed in the United States of America by Princeton University Press, Princeton, New Jersey CONTENTS Preface 1 Foreword 7 A Personal Statement 13 The Method of Making Workers' Films 17 Soviet Cinema 20 The New Language of Cinema 32 Perspectives 35 The Dynamic Square 48 GTK-GIK-VGIK; Past—Present—Future 66 Lessons from Literature 77 The Embodiment of a Myth 84 More Thoughts on Structure 92 Charlie the Kid 108 Mr Lincoln by Mr Ford 139 A Close-Up View 150 Problems of Composition 155 Sources and Notes 184 Appendices A. The Published Writings (1922-1982) of Sergei Eisenstein with notes on their English translations 188 B. The Prometheus of Mexican Painting 222 Index 233 PREFACE Before I left Moscow in 1936 Eisenstein prepared a list of the publications in journals and newspapers that he would like drawn upon if some miracle made it possible to publish a collection of his essays in the United States.
    [Show full text]
  • Linguistic and Stylistic Parameters for the Study of Literary Language in the Corpus of Russian Short Stories of the First Third of the 20Th Century∗
    Linguistic and Stylistic Parameters for the Study of Literary Language in the Corpus of Russian Short Stories of the First Third of the 20th Century∗ Tatiana Sherstinova1;2 Gregory Martynenko 1 [email protected] [email protected] 1 National Research University Higher School of Economics, 2Saint Petersburg State University, Saint Petersburg, Russian Federation Abstract One of the important tasks of creating the Corpus of Russian Short Stories of the first third of the 20th century is to identify and describe the changes that took place in the Russian language and in stylistics of Russian literature in the chain of dramatic events of the World War I, the February and October Revolutions, and the Civil War. The essential principle for creating the corpus is an attempt to include in the database literary texts of the maximum number of authors who wrote stories in 1900–1930. The article describes the principles of writers and text selection for the annotated subcorpus containing stories of 300 Russian prose writers and considers the list of linguistic and stylistic parameters proposed for studying the language of literary texts in synchrony and diachrony. Keywords: stylometrics, Russian literature, short story, frequency lists, POS, liter- ary corpus, literary system 1 Introduction The Corpus of Russian Short Stories of the first third of the 20th century is currently being developed in St. Petersburg State University in cooperation with National Research University Higher School of Economics, St. Petersburg [Martynenko et al., 2018a; 2018b]. When develop- ing corpus conceptions, we relied on the notion of literary system proposed by an outstanding representative of the Russian formal school Yury N.
    [Show full text]
  • Nota Bene-- <C:\Nbwin\USERS\DEFAULT
    AATSEEL 2020 Presentation Abstracts FRIDAY, FEBRUARY 7, 2020 1-1 Stream 1A: Tolstoy as Reader (I): Tolstoy Reading Literature, Myth and Religion Brian Kim, University of Pennsylvania Recommending Reading: Great Books According to Tolstoy In 1890, in response to Sir John Lubbock’s recently published list of one hundred books deemed “best worth reading,” Leo Tolstoy was approached by the publisher M. M. Lederle, who was interested in printing Tolstoy’s own recommendations in this regard. Tolstoy’s sin- gle and abortive attempt at compiling such a list in response contained fewer than 50 titles, organized according to the period of one’s life when they ought to be read and the degree of impression each had made on him personally. Ranging from religious texts and classical epics to contemporary philosophy and Russian literature, Tolstoy’s unpublished list is unsurprisingly characterized by an extraordinary breadth and a focus on writings conducive to the development of moral and spiritual education that was his main preoccupation in the latter period of his life. Though it did not become part of his public recommendations for reading (as, e.g., the aphorisms he later gathered in Krug chteniia), Tolstoy’s list was reflec- tive of a contemporaneous response to the rapid growth of literacy in late nineteenth-century Russia that was concerned with directing the reading consumption of a newly literate public toward texts of greater value than the light fiction so commonly found among booksellers’ wares. This paper examines Tolstoy’s recommendations in light of his experiences as a reader, educator, and public figure, and places his list in dialogue with conversations about literacy education in Russia at the end of the nineteenth century.
    [Show full text]
  • O Sound Design De Veludo Azul E a Polifonia De Efeitos Sonoros
    UNIVERSIDADE ANHEMBI MORUMBI FABIANO PEREIRA DE SOUZA ALAN SPLET – O SOUND DESIGN DE VELUDO AZUL E A POLIFONIA DE EFEITOS SONOROS São Paulo 2016 FABIANO PEREIRA DE SOUZA ALAN SPLET – O SOUND DESIGN DE VELUDO AZUL E A POLIFONIA DE EFEITOS SONOROS Dissertação de Mestrado apresentada à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre em Comunicação, da Universidade Anhembi Morumbi, sob a orientação do Prof. Rogério Ferraraz. São Paulo 2016 FABIANO PEREIRA DE SOUZA ALAN SPLET – O SOUND DESIGN DE VELUDO AZUL E A POLIFONIA DE EFEITOS SONOROS Dissertação de Mestrado apresentado à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre em Comunicação, da Universidade Anhembi Morumbi, sob a orientação do Prof. Rogério Ferraraz. Aprovado em ________ Prof. Dr. Rogério Ferraraz / Doutor / UAM - Presidente ______________ Prof. Dr. Eduardo Simões dos Santos Mendes / Doutor / USP ______________ Prof. Dr. Maurício Monteiro / Doutor / UAM 1 RESUMO A obra do sound designer Alan Splet (1939-1994) e a importância da edição de efeitos sonoros estudadas através da análise do filme Veludo azul (Blue velvet, EUA, 1986), dirigido por David Lynch. O intuito do projeto é pesquisar o que caracterizava o trabalho com efeitos sonoros de Splet, se ele representou inovação em termos de linguagem cinematográfica e, em caso afirmativo, como isso se deu em comparação a obras anteriores que também tenham apresentado sobreposição de efeitos sonoros. Outro objetivo é verificar ainda a aplicabilidade dos conceitos de polifonia e contraponto em relação às construções sonoras do filme. Palavras-chave: Cinema. Sound design. Polifonia. Contraponto sonoro. Alan Splet.
    [Show full text]
  • Episodes from the History of American-Soviet Cultural Relations: Stanford Slavic Studies, Volume 5 (1992)
    University of New Hampshire University of New Hampshire Scholars' Repository Faculty Publications 4-8-2020 Episodes from the History of American-Soviet Cultural Relations: Stanford Slavic Studies, Volume 5 (1992) Lazar Fleishman [email protected] Ronald D. LeBlanc (Translator) University of New Hampshire, [email protected] Follow this and additional works at: https://scholars.unh.edu/faculty_pubs Recommended Citation Fleishman, Lazar, "Episodes from the History of American-Soviet Cultural Relations: Stanford Slavic Studies, Volume 5 (1992)," translated by LeBlanc, Ronald D. (2020). Faculty Publications. 790. https://scholars.unh.edu/faculty_pubs/790 This Book is brought to you for free and open access by University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Faculty Publications by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Lazar Fleishman Episodes from the History of American-Soviet Cultural Relations Stanford Slavic Studies, Volume 5 (1992) translated by Ronald D. LeBlanc 1 Author’s Foreword The present volume may be viewed as an idiosyncratic sequel to the book, Russkii Berlin [Russian Berlin], which I – along with Olga Raevskaia-Hughes and Robert Hughes – prepared for publication and then published in 1983. It grows directly out of the work that was begun by the three of us at that time (work that I recall with a feeling of ardent gratitude) and is likewise based entirely upon materials on Russian literature and culture that are housed in a single, but extraordinarily valuable, collection – the archive of the Hoover Institution. As was true in that earlier case, this archive consists of materials that outwardly appear to be heterogeneous, materials, furthermore, that relate to what are decidedly divergent stages in the history of Russian culture – the prerevolutionary stage in the first section (the “Gorky” section) and the Soviet stage in the second section.
    [Show full text]